The Effect of Dual Narration by Michael Frayn on the Readers Understanding of the Text Michael Frayn has a unique way of writing the Novel ‘Spies’. Stephen is a character, which can relate to any reader at any perspective because Frayn has written the Novel in such a way that Frayn can expose emotions and feelings. He uses dual narration to bring out ideas and personal reflections using an adult Stephen and a younger Stephen. This dual narration is very effective, it conveys the thoughts of both adult Stephen and younger Stephen. Firstly, the novel begins (chapter one) with adult Stephen narrating the story, ‘adult’ Stephen begins by recalling a scent which he brings him about as he nostalgically remembers his past “familiar breath of sweetness” and “On a summer’s day nearly sixty years ago” these quotations imply that something is waiting to revealed to the reader, this is called delayed revelation, and Frayn uses this to build up to an event slowly and reveal what the something is, this takes in the reader’s attention by leading the reader on to the next big thing which is coming up by continuing to read the novel. Furthermore, adult Stephen remains for all of chapter one . Prior to this, adult Stephen observes himself, when he was young in 3rd person “this is what I see as I look at it now… I mean the awkward boy who lives in that unkempt house between the Hardiments and the Pinchers – Stephen Wheatley” this creates a visualizing atmosphere and the reader can picture what adult Stephen is observing, he is reflecting on how he was as a child which some adults like to do. This creates an effect of closeness with the reader, and ... ... middle of paper ... ...“The source of all my great unrest is this: plain ordinary privet” the spelling of ‘privet’ is actually used here to delay revelation of what will happen next. The irony of this type of narrative is that Frayn has mixed the tenses completely which has a huge impact and makes the reader enjoy the whole mystery of the novel. The purpose of this essay was to see how dual narration affects the level of understanding on the novel. I believe that dual narration is an interesting way to write a novel, as it isn’t biased, it shows both sides of one character and that is very intriguing. Conversely, you can confuse the narrative very easily as Frayn likes to use ellipsis to create a puzzling effect, which the reader can only solve by reading on. Therefore, dual narration is very effective and Frayn conveys it wonderfully.
Often, when a story is told, it follows the events of the protagonist. It is told in a way that justifies the reasons and emotions behind the protagonist actions and reactions. While listening to the story being cited, one tends to forget about the other side of the story, about the antagonist motivations, about all the reasons that justify the antagonist actions.
A fundamental element of any story is the perspective of the narrator. It guides the point of view from which readers perceive and understand a story and greatly affects how a story is presented. As such, the perspective is crucial in determining how engaging a story is. First person narration, a narrative perspective in which the story is told first hand, has proven highly effective in making a story more compelling to read. Recently, it has become very popular in young adult fiction, as it can allow, when well-executed, for the reader to be better immersed in the story, increased suspense, and insightful reflection on the significance of events taking place. In Claire Battershill’s Circus short story Two Man Luge, first person narration is
Using second person point of view causes emotional impact on readers more than using other kinds of narration. The pronoun draws readers sinking into the story; and let
Rosenberg first suggests that the academic reader joins in on the conversation. Her first way to go about this is by rhetorical reading. The reader should analyze the relationship between the author, the reader, and the text. After briefly discussing rhetorical reading the author gives a couple of strategies of doing so.
When a child is born, he or she does not see the same things an adult sees. The baby does not understand language and cannot make the distinction between races or gender or good and evil. While it is impossible to go back in time, novels allow readers to take on a new set of eyes for a few hours or days. They give a new perspective to the world, and sometimes provide a filter to the things seen in the world. Unreliable narrators give authors the flexibility to lie to and withhold information from readers, providing new perspectives into the narrator as well as the other characters of the novel. Authors use unreliable narrators not to give more information to the reader, but to withhold information in order to further character development.
In conclusion, it is hard to grasp the true meaning of the story unless the story is read a second time because of the author's style of writing.
he was an adult and this gives you his view of himself. He is also
In the history of written literature, it is difficult not to notice the authors who expand their reader's style and manner of reading. Some write in an unusual syntax which forces the reader to utilize new methods of looking at a language; others employ lengthy allusions which oblige the reader to study the same works the author drew from in order to more fully comprehend the text. Some authors use ingenious and complicated plots which warrant several readings to be understood. But few authors have used all these and still more devices to demand more of the reader. James Joyce, writer of Ulysses and Finnegans Wake, uses extraordinarily inventive and intricate plot construction, creative and often thought-provoking word constructions, allusions to works both celebrated and recondite, and complex issues and theories when challenging his readers to expand their method of reading.
The writer telling the story has a much easier time of thinking about the facts of the reality he has created when he is fictionally an active member of it. Although his narrators are not his normal voice, they are still a part of his writing self. They still must go through the filter of his conscious thought to be allowed to write the story. This means that when the reader is engaged in the process of comprehending this story, they unnoticeably bring together three separate filters. The author's, the narrators', and their own.
Kirszner, Laurie G., and Stephen R. Mandell. Literature: Reading, Reacting, Writing. Boston, MA: Wadsworth Cengage Learning, 2010. Print.
The text was written with reading out loud in mind, that can not be recommended; but it is suggested that the reader attend with his ear to what he takes off the page: for variations of tone, pace, shape, and dynamics are here particularly unavailable to the eye alone, and with their loss, a good deal of meaning escapes. (87)
Kirszner, Laurie G., and Stephen R. Mandell. Literature: Reading & Reacting & Writing. 4th ed. Boston: Earl McPeek, 2000. 388-423.
Tan, Amy. "Two Kinds". Literature, Reading Reacting,Writing. 5th ed. Ed. Laurie G. Kirszner and Stephen R. Mandell. Boston: Heinle, 2004.
In the novel “All the King’s Men” by Robert Penn Warren, Jack Burden is the narrator of the novel, and is a complex character. Burden’s main characteristics are his intelligence and his lack of ambition. In the beginning of the novel Jack Burden is described as undecided, and inconsistent, but yet intelligent. However, by the end of the novel Jack’s attitude will change. The author uses an observer narrator to convey the main themes of the story.